Mohamad fadel, Painting for Being by Mahmoud Abu Hashhssh
I have not seen faces as astonished and pleased as the ones among the crowds who Stood dazzled before the works of Mohamad Fadel. His works, exhibited under the Title Hulagu, was sponsored by the A.M. Qattan Foundation in Ramallh last March.
More than pondering the meanings of his works, visitors surrendered to the sheer Pleasure of viewing the works' beaty without toiling or thoroughly searching their Souls. They did not inquire into justifications for the works. Each painting acquired Its own justification for its presence in the exhibition hall, from its own internal strength. The happiness, the joy, the celebration of color offered visitors time off from the other works in the gallery. Indeed, other works have their aesthetic value. However, they either soak in flamboyant symbolism or remain unfathomable to a great many, except for those who have mastered skills that enable them to celebrate color after serious efforts to comprehend them in their hearts and brains. Fadelgave an unequivocally clear and simple response when he said; "I brought you color." This statement, despite its proselytizing implication, shocked me because it represents a simple but profound thought. The celebratory reception of Fadels' works in Ramallah points to the quenching of a wide spread thirst. It is the thirst for joy, which people have not been able to find in artistic works burdened by quotidian political concerns on top of burdens they themselves have carried as spectators, especially in the past five years. Perhaps what most distinguishes the works of an energy that finds its representations in details, which approximate a breathtaking lapyrinth crowded with seemingly infinite arabesques, expanses, oriental lines, and miniatures.
Nonetheless, the lapyrinth is not absolute. It emanates from an eye-gripping center on the paintungs' surface, initiating one into a sojourn that slowly extends horizontally on the surface, and vertically, delves deeper into the colors. Astonishment is the first feeling that is bound to accompany any reaction to Fadels' works. The artist spent an enormous amount of energy and effort on his paintings. Without taming his fecund and ferociously shocking imagination, to create something beyond what is beautiful, rather, something magnificent. Fadel belongs to that breed of artists who never studued in an college, a lack that has afforded him undiluted freedom. Each time he embarks on a new work of art, he instists on affirming his expression through his authentic belonging to the creative world. Through his painting , he transmits a cry for life and unification with his creative essence, affronted as it as by the necessities of daily living.
The artist, therefore, finds himself in a ceaseless struggle to affirm his artistic identity. Each painting appears like a cry for attention to and care for the latent energy in his little body, the artistic moorings of which are threatened by the deadening prosaic preoccupations. His paintings reveal how deep the painter delves into his artistic self as he paints, how much he forgets the other self in him, the one overtaken by the dictates of daily labor necessary for sheer existence. In his case, artistic practice is both a struggle and resistance of a personal identity. The painting itself becomes an unmistakable testimony to this struggle. It presents a trial for the space left in the individual, untamed by the authority of the academy and other institutions adjudicating matters of aesthetics and values. The painting challenges the creative capabilities of an individual practicing his art, in zones outside the confines of authoritarian institutions.
When Mohamad Fadel immerses himself in painting, it is as though he is completely Enraptured by his creative self. This self raucously declares its aesthetic rebellion and Its singular energy, whereby the artists' hands know nothing but the tightening of Canvases and the playing with a brush and colors. Thes strong and playful hands betray nothing of the other hard daily labor in which they are immersed-so immersed that the energy of any other artist would be exhausted. In each painting, Fadel points to his vast reservoir of creative energy, which can't be dried up by the pressing and boring demands of daily life. On the contrary, each time Fadel paints, he affirms his Overwhelming capability to exist, holding tightly to his creed "paint in order to be," Whenever the distractions of daily preoccupations attempt to banish him from the creative realm in which he so deserves to remain
From Hulagu Catalogue 2005
Only Music by Tina Sherwell
Mohamad fadel is a young Palestinian artist from Haifa, Who has no formal traning But has been creating art from an early age. His most recent exhibition at the A.M Qattan Foundation profiled his new series of paintings titled "Hulago". The inspiration For the works came from the historic figure of Hulago the Mongolian leader who invaded Bagdad in the 13th century and destroyed its cultural and scientific heritage. In many ways history repeats itself and the ancient city has been subject to numerous Invasions over time. For the artist, however the them of his work is not violence but Music, for music un such contexts is a form of resistance, something which can cross Borders and be passed down from generation to generation, preserving and enriching Cultural identity, it survives and is revived in an array of circumstances.
It is the joy, vibrance and resilience of culture and music that Fadel expresses in his Works. His paintings are like tapestries as the artist uses a vibrant palette of colours With each section of the canvas worked upon in rich detail. All perspective is dissolved As Fadel creates a rich patterned surface. This transformation of the picture plain means that the viewer is constantly invited to discover details of the painting which are woven together in an intricate surface. The characters and animals in Fadels' images are painted in hus own unique style, and it is as though they come from old folktales, each has their own particular feature and gestures reminding one of narratives one heard as a child. If we examine the surface of the paintings, the objects and dress of his characters we see that Fadel combines both contemporary and historical symbols and imaginary forms in the work, thus bringing to foreground the historical significance of his subject matte
From Hulagu Catalogue 2005